Arts Watch.

Sound Envelopment

Barenboim, Lupu Embrace Listeners With Their Pianism

November 26, 2000|By John von Rhein, Tribune Music Critic.

You would hardly think that any piano duo would be able to reduce Orchestra Hall to the intimate proportions of Schubert's salon--site of the composer's famous Schubertiads where he regularly tried out his latest creations for piano four hands on musical friends.

But that would seriously underestimate the talents of DanielBarenboim and Radu Lupu. The pianists, in their recital of Schubert works for piano four hands here Friday evening, did not so much shrink the auditorium as make the music embrace everyone in it.

It turned out to be one of the most enjoyable of the duo programs these longtime friends and colleagues have brought to Chicago. This was not only because the pianists are so well matched, balanced and sensitive to each other's playing but also because they are so musically secure within themselves. Barenboim and Lupu shared more than a bench--they shared a unified view of Schubert's music.

The program, in which the pianists took turns playing the primo and secondo parts, began with Eight Variations in A-flat (D.813) in which Schubert treats an original theme to felicitous elaboration.

After flexing their fingers on this minor but enjoyable piece, the pianists turned to more serious business: the Fantasy in F minor (D.940) and "Grand Duo" Sonata (D.812).

The Fantasy went particularly well, Barenboim and Lupu shaping their dialog with elegant lucidity and subtlety of voicing, articulation and color. Schubert makes each return of the sublime, heart-stopping theme different, and Friday's duo made certain these subtle differences registered vividly.

Nearly 45 minutes long, the "Grand Duo" is symphonic in scope and expression although the writing is solidly pianistic. Here, with suppleness of phrasing and flexibility of rhythm, the pianists drew on a wide dynamic palette and a fluid tempo scheme to point up the signposts in the expansive structure. It's hard to hold an audience's attention in this music but Friday's duo succeeded.

Perhaps not since the young Gidon Kremer burst upon the violin world in 1970 has a young violinist caused quite the stir of Nikolaj Znaider. This is a major talent--make no mistake about it. His Chicago Symphony Orchestra debut Friday afternoon suggested that all the industry buzz did not exaggerate the electric impact he makes on the music and the audience.

Znaider's heritage is Polish and Israeli, his country of origin Denmark. Since winning two major international competitions during the '90s, this 25-year-old Dorothy DeLay pupil has been making the rounds of the leading orchestras and has signed a major recording contract.

Much of the credit for opening these musical doors must go to Barenboim, who obviously believes in his virtuoso gifts and who partnered his splendid performance of the Sibelius Violin Concerto at the weekend CSO concerts. A second performance was scheduled for Saturday evening at Symphony Center.

Znaider played this demanding work as beautifully as this critic has heard in recent memory. He maintained a singing line of great tonal purity and deeply expressive poetry, bolstered by rock-solid rhythm and a formidable bow arm.

Somebody wrote recently that Znaider's style recalls the great days of violin playing, and from this performance I think I know what the writer meant. Znaider is original in musical outlook but without idiosyncrasy: Nothing gets in the way of his communicating the musical essence to the listener.

Znaider may not be the easiest name to remember, but get used to hearing it. He deserves to go far and he will.

The concert began with big-orchestra Mozart--the "Marriage of Figaro" Overture--that moved along gracefully, in defiance of the unfashionably large forces Baren-boim employed.

It ended with Dvorak's "New World" Symphony, which was reviewed at the previous week's subscription concerts. The program was dedicated to the memory of CSO music director laureate Georg Solti.